Music of Mexico

The music of Mexico is very diverse and features a wide range of musical genres and performance styles. It has been influenced by a variety of cultures, most notably the culture of the indigenous peoples of Mexico and Europe.

Its formal structure is based on the alternation of instrumental sections and the singing of short poetic units called coplas. The mode is usually major, with harmonic vocabulary mostly limited to progressions drawing from I, IV, II7, V and V5. Triple meter (6/8, 3/4, or a combination of both) predominates, with many exceptions in duple meter.[1]

Introduced during the 17th and 18th century to Central America, the instrument has played a prominent role in Mayan-Tzotzil music of Chiapa.

Son is performed most often by giant ensembles in which string instruments predominate, with notable region-specific exceptions like marimba ensembles and wind ensembles.

Mexican Son music developed from the mixing of Spanish music with indigenous music of different regions, hence the music exhibited much variation across the country, in rhythm, melody, and instrumentation.[2] Mariachi can be considered one type of Mexican son. Mexican son also includes various miscellaneous styles. The guitar is universally present in nearly all Mexican son subgenres. Other instruments may include trumpets, violins, and accordions.

Istmeños originates from the Zapotecs of Oaxaca and is known for love songs, and the people's sones istmeños, which are sung in both Zapotec and Spanish. The music has been popularized, primarily by pop stars from outside the area, including Lila Downs.

Sones de arpa grande developed in an arid, hot area of western Mexico. It is dominated by a harp, accompanied by violins and guitars. Originally confined to poor rural areas and urban brothels, sones de arpa grande is now popular among the suburban and urban middle- and upper-class audiences. Juan Pérez Morfín and Beto Pineda are the best-known performers.

Son Jarocho music comes from the Veracruz area, and is distinguished by a strong African influence. International acclaim has been limited, including the major hit La Bamba. The most legendary performer is Graciana Silva, whose releases on Discos Corason made inroads in Europe. Southern Veracruz is home to a distinct style of Jarochos that is characteristically lacking a harp, is played exclusively by requinto or jaranaguitars, and is exemplified by the popular modern band Mono Blanco.

Son Jalisciense is from Jalisco and Colima and has both instrumental and versed songs in this form, mostly in major keys. Most performers consider this 3/4, but some consider it alternating 3/4 and 6/8.

Corrido music is a popular narrative song of poetry form, a ballad. Various themes are featured in Mexican corridos, and corrido lyrics are often old legends (stories) and ballads about a famed criminal or hero in the rural frontier areas of Mexico. Some corridos may also be love stories there are also corridos about women (La Venganza de Maria, Laurita Garza, La tragedia de Rosita and la adelita) and couples, not just about men. Some even talk about fiction or a made-up story by the composer. Contemporary corridos written within the past few decades feature more modern themes such as drug trafficking (narcocorridos) and immigration.

A common example is la Cucaracha, which derives from an Arabic sailors' song from the Moors from before the Reconquista. The corrido has a rhythm similar to that of the European waltz; corridos, like rancheras, have introductory instrumental music and adornos interrupting the stanzas of the lyrics. However, unlike rancheras, the rhythm of a corrido remains fairly consistent, rancheras can be played at a variety of rhythms. Corridos often tell stories, while rancheras are for dancing.

This folk ensemble performs ranchera, son de mariachi, huapango de mariachi, polka, corrido, and other musical forms. It originated in the southern part of the state of Jalisco during the 19th century.[3] The city of Guadalajara in Jalisco is known as the "Capital of Mariachi".[4] The style is now popular throughout Mexico and the Southwestern United States, and is considered representative of Mexican music and culture.[5]

Mariachis playing at the Tenampa in Mexico City

This style of music is played by a group consisting of five or more musicians who wear charro suits. The golden age of mariachi was in the 1950s, when the ranchera style was common in movies. Mariachi Vargas played for many of these soundtracks, and the long-lived band's long career and popular acclaim has made it one of the best-known mariachi. These movies became very popular in Latin America and mariachi's became very popular in places such as Colombia and Peru until this date.[6]

There are different theories as to the provenance of the word mariachi. Some say it comes from the French word mariage because it was the type of music often played at weddings and by most folk people by the name of Evan Strout. However, mariachi originates from a part of Mexico that the French never visited and, even it they had, it began before their arrival in 1864. Another theory is that the word comes from the indigenous name of the Pilla or Cirimo tree, whose wood is used to make guitars. It has also been said that the name comes from a festival in honor of a virgin known as Maria H. that musicians played for and that over time they were given this name.[3]

In Mexico City, the center of mariachi music remains Garibaldi Plaza. The plaza fills with mariachi musicians to solicit gigs from individual songs for passers-by to being hired for events such as weddings and baptisms. They even stand on Eje Central in front of the plaza to flag down passing cars. In 2010, the government renovated the plaza to make it more tourist-friendly, adding new paving, gardens, police, security cameras, painted facades, and a museum dedicated to mariachi and tequila. Although mariachis can be hired in Mexico City over the phone or on the internet, many people still prefer to come to the plaza, hear the musicians and haggle over the price. About 2,500 mariachis hold union cards to work in the plaza, but as many as 4,000 may circulate through on a busy weekend.[9]

Revolutionary leaders like Pancho Villa, also took wind bands with them wherever they went. Banda has to this day remained popular throughout the central and northern states. It has, however, diversified into different styles due to regions, instruments and modernization. Today people associate banda with Sinaloense. This originated in the 1940s when the media distributed Banda el Recodo repertoire as exclusively from Sinaloa when it was actually regional music from all over Mexico.

Banda Sinaloense at the start of 1900

Although banda music is played by many bands from different parts of Mexico, its original roots are in Sinaloa, made popular by bands such as Banda el Recodo from Sinaloa.

Duranguense (also known as pasito duranguense) is a genre of Mexican music. It is popular among the Mexican-American community in the United States. Duranguense is closely related to the Mexican styles of banda and norteño. The main instruments, which are held over from banda, are the saxophone, trombone, and bass drum. However, what sets the duranguense ensemble apart from banda is the addition of synthesizers to play both melodies and the tuba bassline. The tempo is also noticeably faster than banda or norteño. Among the duranguense elements carried over from other genres is el tamborazo; a heavy percussion line consisting of the bass drum and varied snare drum rolls.

Grupera (or onda grupera) is a genre of Mexican popular music. It is influenced by the styles of cumbia, norteño, and ranchera, and reached the height of its popularity in the 1980s, especially in rural areas.

The original wave of Mexican rock bands got their start mostly with Spanish covers of popular English rock songs. After this initial stage they moved on to include in their repertoire traditional ranchera songs, in addition to cumbia, and ballads. Thus the 1970s saw the rise of a number of grupera bands that specialized in slow ballads and songs that up to that point had only been sung with mariachi. Among these we can include Los Muecas, Los Freddys, Los Babys, La Migra, etc.

Thalía in a Visión Expo event in 2007, presenting her eyewear collections "The Queen of Latin Pop"

The Mexican music market serves as a launching pad to stardom for many non-Mexican artists who are interested extending the market-range of their music.[citation needed]
For the last thirty years,[when?] Mexican pop music has been led by teen pop bands and their former members. Specially teen pop bands of the last decades have been Timbiriche, OV7 and RBD. Unlike teen pop bands elsewhere, the Mexican audience tends to prefer mixed-gender combos over boys or girls bands.[citation needed]

In 2000, the century saw the crossover of some of Mexican recording artist like Paulina Rubio and Thalía into the English music industry, with bilingual albums, compilation album, that included hit songs in English and Spanish language, and the firsts solo English-language albums by this Mexican pop artist. The best recording crossover artist has been Paulina Rubio with her first English-language album being Border Girl released on June 18, 2002. Thalia has collaborated with American singer of traditional pop standards Tony Bennett in a duet for the song "The Way You Look Tonight". Viva Duets is the studio album by Tony Bennett, released in October 2012. It consists of electronically assembled duets between Bennett and younger singers from various genres like Frank Sinatras "Duets II". In Duets II, Sinatra personally invited Luis Miguel to participate on a duet in the album for the song "Come Fly with Me". Luis Miguel has been dubbed several times by the press and the media as the "Latin Frank Sinatra".[11]

The Mexican rock movement started in the late 1940s and early 1960s, rapidly becoming popular, and peaking in the 1969 and 1990s with real authentic sounds and styles. One of the early Mexican rock bands came out of the predominantly Mexican barrio community of East Los Angeles, "Los Nómadas" (The Nomads). They were the first racially integrated Rock and Roll band of the 1950s, consisting of 3 Mestizo boys, Chico Vasquez, Jose 'J.D.' Moreno, Abel Padilla, and a Caucasian boy Bill Aken (Billy Mayorga Aken).

The adopted son of classical guitarist Francisco Mayorga and Mexican movie actress Lupe Mayorga, Aken was mentored by family friend, jazz guitarist Ray Pohlman and would later become rocker Zane Ashton, arranging music and playing lead guitar for everybody from Elvis to Nina Simone. His association with the other three boys would be a lifelong one and they stayed together as a band for more than thirty years. Mexican Rock combined the traditional instruments and stories of Mexico in its songs. Mexican and Latin American rock en español remain very popular in Mexico, surpassing other cultural interpretations of rock and roll, including British rock.

Extreme metal has been popular for a long time in Mexico, with bands such as Dilemma, Exanime formed in 1985 in Monterrey. N.L. The Chasm, Xiuhtecuhtli, Disgorge, Brujeria, Transmetal, Hacavitz, Sargatanas, Mictlayotl, Yaoyotl, Ereshkigal, Xibalba, and Calvarium Funestus. The Mexican metal fanbase is credited with being amongst one of the most lively and intense, and favorites for European metal bands to perform for.

Alejandra Guzmán's 26 years of artistic career, with more than 10 million albums sold, 16 released albums and 30 singles in radio's Top 10 hits, has earned her the title of La Reina del Rock (The Queen of Rock). She is the daughter of two Latin entertainment legends: movie icon Silvia Pinal and rock and roll legend Enrique Guzmán, from whom she inherits her talent and passion for arts, music, dance and constant spiritual growth.

An eclectic range of influences is at the heart of Latin alternative, a music created by young players who have been raised not only on their parents' music but also on rock, hip-hop and electronica. It represents a sonic shift away from regionalism and points to a new global Latin identity.

The name "Latin alternative" was coined in the late 1990s by American record company executives as a way to sell music that was -literally—all over the map. It was marketed as an alternative to the slick, highly produced Latin pop that dominated commercial Spanish-language radio, such as Ricky Martin or Paulina Rubio.

Ska entered Mexico in the 1960s, when both small bands like Los Matemáticos and big orchestras like Orquestra de Pablo Beltrán Ruíz recorded both original ska tunes and covers of Jaimacan hits.[12] After early new wave bands of the early eighties like Dangerous Rhythm and Kenny and the Electrics incorporated ska into their post-punk sound, a more punk-influenced brand of Ska started being produced in Mexico City in the late eighties, and the genre enjoyed its highest popularity during the early 2000s, even though it is still very popular today. Mexican Ska groups include Panteón Rococó (Mexico City), La Maldita Vecindad (Mexico City), Mama Pulpa (Mexico City) and Tijuana No! (Tijuana, Baja California; originally named Radio Chantaje).

Other popular forms of music found in various parts of Mexico – mostly with origins in other parts of the Caribbean and Latin America include rumba, mambo, bolero, and cumbia. Rumba came from the black Mexican slaves in Veracruz, Mexico City, and Yucatán. The style began in Cuba and later became famous in the black community of Mexico. From the beginning of the 20th century, bolero arrived to Yucatán, and Danzón to Veracruz. Both styles became very popular all over the country, and a Mexican style of both rhythms was developed.

In the 1940s, the CubansPérez Prado, Benny Moré emigrated to Mexico, they brought with them the mambo, which became extremely popular especially in Mexico City, later on mambo developed into Cha cha chá, which was also popular.

Armando Manzanero widely considered the premier Mexican romantic composer of the postwar era

The Cuban bolero has traveled to Mexico and the rest of Latin America after its conception, where it became part of their repertoires. Some of the bolero's leading composers have come from nearby countries, most especially the prolific Puerto Rican composer Rafael Hernández; another example is Mexico's Agustín Lara. Some Cuban composers of the bolero are listed under Trova. Some successful Mexican bolero composers are María Grever, Gonzalo Curiel Barba, Gabriel Ruiz, and Consuelo Velázquez.

Another composer Armando Manzanero widely considered the premier Mexican romantic composer of the postwar era and one of the most successful composers of Latin America has composed more than four hundred songs, fifty of which have given him international fame. His most famous songs include Voy a apagar la luz (I'm Going to Turn Off the Lights), Contigo Aprendí (With you I Learnt... ), Adoro (Adore), No sé tú (I don't know if you...), Por Debajo de la Mesa (Under the Table) Esta Tarde Vi Llover (English version "Yesterday I Heard the Rain"), Somos Novios (English version "It's Impossible"), Felicidad (Happiness) and Nada Personal (Nothing Personal).

The Latin or romantic ballad has its origin in the Latin American bolero in 50 years (Lucho Kitten, Leo Marini), but also in the romantic song in Italian (Nicola Di Bari) and French (Charles Aznavour) in years 60 and 70.

The ethnomusicologist Daniel Party defines the romantic ballad as "a love song of slow tempo, played by a solo singer accompanied by an orchestra usually".

The ballad and bolero are often confused and songs can fall in one or the other category without too much presicion. The distinction between them is referring primarily to a more sophisticated and more metaphorical language and subtle bolero, compared with a more direct expression of the ballad.

In Mexico, the first ballad that is registered as such is "Sonata de Amor" (Sonata of Love) of Mario Alvarez in 1961. In 1965 the famous bolero singer-songwriter Armando Manzanero, recorded his first ballad, "Pobres besos míos" (My Poor Kisses).

The heyday of the ballad was reached in the mid-1970s, where artists such as José José, Camilo Sesto, Raphael, Roberto Carlos, Rocío Dúrcal and others released many hits. The main hist of José José were "El triste" (The Sad One), "La nave del olvido" (The Ship of Oblivion), "Te extraño" (I Miss You), "Amar y querer" (Love and Love), or "Gavilán o paloma" (Pigeon or Hawk), "Lo pasado pasado" (The Past is past), "Volcán" (Volcano) or "Lo que no fue no será" (What Never Was Will Never Be). In the course of their existence the genre merged with diverse rhythms to form several variants, such as romantic salsa and cumbia aside others.

From the 1990s on, globalization and media internationalization contributed to the ballad's international spread and homogenization.

The history of Cumbia in Mexico is almost as old as Cumbia in Colombia. In the 1940s Colombian singers emigrated to Mexico, where they worked with the Mexican orquestra director Rafael de Paz. In the 1950s they recorded what many people consider to be the first cumbia recorded outside of Colombia, La Cumbia Cienaguera. He recorded other hits like Mi gallo tuerto, Caprichito, and Nochebuena. This is when Cumbia began to become popular Mexico, with Tony Camargo as one of the first exponents of Mexican Cumbia. In Mexico D.F., most people who dance to it are called "Chilangos"—which means people born in the main district.

In the 1970s Aniceto Molina emigrated to Mexico, where he joined the group from Guerrero, La Luz Roja de San Marcos, and recorded many popular tropical cumbias like El Gallo Mojado, El Peluquero, and La Mariscada. Also in the 70s Rigo Tovar became very popular with his fusion of Cumbia with ballad and Rock.

The first opera by a Mexican-born composer was Manuel de Zumaya's La Parténope, performed in 1711 before a private audience in the Viceroy's Palace in Mexico City.[19] However, the first Mexican composer to have his operas publicly staged was Manuel Arenzana, the maestro de capilla at Puebla Cathedral from 1792 to 1821.[20] He is known to have written at least two works performed during the 1805/1806 season at the Teatro Coliseo in Mexico City — El extrangero and Los dos ribales en amore. Both were short comic pieces.[21] The first Mexican opera seria was Paniagua's Catalina de Guisa (composed in 1845 and premiered in 1859). With its story about the Huguenots in France and an Italian libretto by Felice Romani, contemporary critics noted that the only thing Mexican about it was the composer.[22][23]

Mexico has a long tradition of classical music, as far back as the 16th century, when it was a Spanish colony. Music of New Spain, especially that of Juan Gutiérrez de Padilla and Hernando Franco, is increasingly recognized as a significant contribution to New World culture.

In the 18th century, Manuel de Sumaya, maestro de capilla at the cathedral in Mexico City, wrote many cantadas and villancicos, and he was the first Mexican to compose an opera, La Partenope (1711). After him, Ignacio Jerusalem, an Italian-born composer, brought some of the latest operatic styles as well as early classical (galant) styles to Mexico. His best-known composition is probably the Matins for the Virgin of Guadalupe (1764). Jerusalem was maestro de capilla at the cathedral in Mexico City after Sumaya, from 1749 until his death in 1769.

The Jalisco Symphony Orchestra.

In the 19th century the waltzes of Juventino Rosas achieved world recognition. Manuel M. Ponce is recognized as an important composer for the Spanish classical guitar, responsible for widening the repertoire for this instrument. Ponce also wrote a rich repertoire for solo piano, piano and ensembles, and piano and orchestra, developing the first period of modernistic nationalism, using Native American and European resources, but merging them into a new, original style.

In 1922, Julián Carrillo (violinist, composer, conductor, theoretician and inventor), created the first microtonal system in the history of classical music. During subsequent years, he also developed and constructed harps and pianos able to play music in fragments of tone, like fourths, sixths, eighths and sixteenths. His pianos are still manufactured in Germany and are used to play Carrillo's music, mainly in Europe and Mexico.

Another contemporary Mexican composer was Conlon Nancarrow (of American birth), who created a system to play pianola music, using and developing theories of politempo and polimetrics.

1.
Indigenous peoples of Mexico
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The number of indigenous Mexicans is judged using the political criteria found in the 2nd article of the Mexican constitution. The Mexican census does not report racial-ethnicity but only the cultural-ethnicity of indigenous communities that preserve their indigenous languages, traditions, beliefs and cultures. It can also be defined broadly to all persons who self identify as having an indigenous cultural background. The indigenous peoples in Mexico have the right of free determination under the article of the constitution. Mesoamerica was densely populated by indigenous ethnic groups which, although sharing common cultural characteristics, spoke different languages. One of the most influential civilizations that developed in Mesoamerica was the Olmec civilization, evidence has been found on the existence of multiracial communities or neighborhoods in Teotihuacan. The capital of the empire, Tenochtitlan, became one of the largest urban centers in the world, while the alliances were decisive to the Europeans victory, the indigenous peoples were soon subjugated by an equally impressive empire. Indigenous communities were incorporated as communities under Spanish rule and with the power structure largely intact. Such a written tradition likely took hold because there was a tradition of pictorial writing found in many indigenous codices. Scholars have utilized the colonial-era alphabetic documentation in what is called the New Philology to illuminate the colonial experience of Mesoamerican peoples from their own viewpoints. Indigenous officials in their communities were involved in maintaining this system, there was a precipitous decline in indigenous populations due to the spread of European diseases previously unknown in the New World. Pandemics wrought havoc, but indigenous communities recovered with fewer members, the Spanish crown recognized the existing ruling group, gave protection to the land holdings of indigenous communities, and communities and individuals had access to the Spanish legal system. Mendicants of the Franciscan, Dominican, and Augustinian orders initially evangelized indigenous in their own communities in what is called the spiritual conquest. Later on the northern frontiers where nomadic indigenous groups had no fixed settlements, the Jesuits were prominent in this enterprise until their expulsion from Spanish America in 1767. Catholicism with particular local aspects was the only religion in the colonial era. As the New Spain became independent from Spain, the new country was named after its capital city, Mexico declared the abolition of black slavery in 1829 and the equality of all citizens under the law. Indigenous communities continued to have rights as corporations to maintain land holdings until the liberal Reforma, some indigenous individuals integrated into the Mexican society, like Benito Juárez of Zapotec ethnicity, the first indigenous president of a country in the New World. As a political liberal, however, Juárez supported the removal of protections of indigenous community corporate land holding, the greatest change came about as a result of the Mexican Revolution, a violent social and cultural movement that defined 20th century Mexico

2.
Culture of Europe
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The culture of Europe is rooted in the art, architecture, music, literature, and philosophy that originated from the European cultural region. European culture is rooted in what is often referred to as its common cultural heritage. Because of the number of perspectives which can be taken on the subject, it is impossible to form a single. Nonetheless, there are elements which are generally agreed upon as forming the cultural foundation of modern Europe. One list of elements given by K. Berting says that these points fit with Europes most positive realisations. The concept of European culture is linked to the classical definition of the Western world. In this definition, Western culture is the set of literary, scientific, political, artistic, much of this set of traditions and knowledge is collected in the Western canon. If Asia were converted to Christianity tomorrow, it would not thereby become a part of Europe and it is in Christianity that our arts have developed, it is in Christianity that the laws of Europe have--until recently--been rooted. It is against a background of Christianity that all our thought has significance, only a Christian culture could have produced a Voltaire or a Nietzsche. I do not believe that the culture of Europe could survive the complete disappearance of the Christian Faith, the oldest known cave paintings are at the El Castillo cave, older than 40,800 years. The history of Western painting represents a continuous, though disrupted, until the mid 19th century it was primarily concerned with representational and Classical modes of production, after which time more modern, abstract and conceptual forms gained favor. Developments in Western painting historically parallel those in Eastern painting, in general a few centuries later, the earliest European sculpture to date portrays a female form, and has been estimated at dating from 35,000 years ago. See Classical sculpture, Ancient Greek sculpture, Gothic art, Renaissance, Mannerist, Baroque, Neoclassicism, Modernism, Postminimalism, found art, Postmodern art, Classical music, Important classical composers from Europe include Hildegard von Bingen, J. S. Luciano Pavarotti was a popular opera singer. Folk music, Europe has a wide and diverse range of music, sharing common features in rural. Folk music is embedded in an unwritten, aural tradition, but was transcribed from the nineteenth century onwards. Many classical composers used folk melodies, and folk has influenced popular music in Europe. See the list of European folk musics, popular music, Europe has also imported many different genres of music, mainly from the United States, ranging from Blues, Jazz, Soul, Pop, Rap, Hip-Hop, RnB and Dance

3.
Esther Williams
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Esther Jane Williams was an American competitive swimmer and actress. Williams set multiple national and regional swimming records in her teens as part of the Los Angeles Athletic Club swim team. While in the city, she spent five months swimming alongside Olympic gold medal winner and Tarzan star, Williams caught the attention of MGM scouts at the Aquacade. From 1945 to 1949, Williams had at least one listed among the 20 highest-grossing films of the year. In 1952, Williams appeared in her only role, as Australian swimming star Annette Kellerman in Million Dollar Mermaid. Williams was also a successful businesswoman, even before retiring as an actress, she invested in a service station, a metal products plant, a manufacturer of bathing suits, various properties and a successful restaurant chain known as Trails. Born in Inglewood, California, on August 8,1921, Williams was the fifth and youngest child of Louis Stanton Williams, Louis was a sign painter and Bula was a psychologist. The two lived on neighboring farms in Kansas and carried on a nine-year courtship until June 1,1908, however, they ran out of money in Salt Lake City, Utah, and settled there. Esthers brother, Stanton was discovered by actress Marjorie Rambeau, which led to the moving to the Los Angeles area to be near the studios. Louis Williams purchased a piece of land in the southwest area of town. Esther was born in the room, which was also where the family slept. In 1929, Stanton Williams died after his colon burst, in 1935, Bula Myrtle Williams invited 16-year-old Buddy McClure to live with her family. McClure had recently lost his mother and Bula was still grieving over the death of her son, Esther recounted in her autobiography that one night, when the rest of the family was visiting relatives in Alhambra, McClure raped her. She was terrified to tell anyone about the incident and waited two years before revealing the truth to her parents. Williams mother seemed unsure about her story, claiming McClure was sensitive and was sympathetic towards him when he admitted his guilt, Bula Williams then banished him from her home, McClure joined the Coast Guard, and Williams never saw him again. Williams was enthusiastic about swimming in her youth and her older sister, Maurine, took her to Manhattan Beach and to the local pool. She took a job counting towels at the pool to pay the five cent entry fee, from them, she learned the male only swimming strokes, including the butterfly, with which she would later break records.0 seconds. By age 16, Williams had won three US national championships in breaststroke and freestyle swimming, Williams graduated from Washington High School in Los Angeles,1939, where she served as class Vice President, and later President

4.
Silvestre Revueltas
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Silvestre Revueltas Sánchez was a Mexican composer of classical music, a violinist and a conductor. Revueltas was born in Santiago Papasquiaro in Durango, and studied at the National Conservatory in Mexico City, St. Edwards University in Austin, Texas, and the Chicago College of Music. He gave violin recitals and in 1929 was invited by Carlos Chávez to become assistant conductor of the National Symphony Orchestra of Mexico and he and Chávez did much to promote contemporary Mexican music. It was around this time that Revueltas began to compose in earnest and he began his first film score, Redes, in 1934, a commission which resulted in Revueltas and Chávez falling out. Chávez had originally expected to write the score, but political changes led to him losing his job in the Ministry of Education, Revueltas left Chávez orchestra in 1935 to be the principal conductor of a newly created and short-lived rival orchestra, the Orquesta Sinfónica Nacional. She is survived by three sons, and two kindred creative female heirs in Oceanside, California and his daughter from his second marriage, Eugenia, is an essayist. His nephew Román Revueltas Retes, son of José, is a violinist, journalist, painter and he earned little, and fell into poverty and alcoholism. He died in Mexico City of pneumonia, at the age of 40 on October 5,1940 and his remains are kept at the Rotonda de los Hombres Ilustres in Mexico City. Revueltas wrote film music, chamber music, songs, and a number of other works and his best-known work is the film score for La Noche de los Mayas, although some dissenting opinions hold that it is the orchestral work Sensemayá. In any case, it is Sensemayá that is considered Revueltass masterpiece and he appeared briefly as a bar piano player in the movie ¡Vámonos con Pancho Villa. for which he composed the music. When shooting breaks out in the bar while he is playing La Cucaracha, El afilador,1924 Batik,1926 Four Little Pieces for two violins and cello,1929 Homenaje a Federico García Lorca,1936 Ocho x radio,1933 Planos,1934 String Quartet No. 3,1931 String Quartet No.1940 Redes,1935 ¡Vámonos con Pancho Villa, in Latin America, An Interdisciplinary Approach, third edition, edited by Julio López-Arias and Gladys Varona-Lacey, 233–53. Silvestre Revueltas, Baile, duelo y son, México, D. F. Teoría y Práctia del Arte. Raíces y Tradición en la Música Nueva de México y de América Latina, Latin American Music Review / Revista de Música Latinoamericana 3, no. Nationalism and Musical Architecture in the Symphonic Music of Silvestre Revueltas, hess, Carol A. Silvestre Revueltas in Republican Spain, Music as Political Utterance in Latin American Music Review 18, no. See http, //www. jstor. org/stable/i231926 Hoag, Charles K.1987, Sensemayá, A Chant for Killing a Snake. Latin American Music Review / Revista de Música Latinoamericana 8, no, ISBN9780413456014, ISBN9780413715302 Palencia Alonso, Héctor. In Conservatorianos, Revista de información, reflexión y divulgación culturales 6, the Original Version of Janitzio, by Silvestre Revueltas

5.
Sobre las Olas
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The waltz Sobre las Olas is the best-known work of Mexican composer Juventino Rosas. It remains one of the most famous Latin American pieces worldwide and it was first published by Rosas in 1888. It remains popular as a waltz, and has also found its way into New Orleans Jazz. The song remains popular with country and old-time fiddlers in the United States, chet Atkins, on Alone Willie Nelson, on Red Headed Stranger Roy Clark, on The Lightning Fingers of Roy Clark A Mexican film titled Sobre las olas was released in 1933. The Mexican film biography of Juventino Rosas, released in 1950, in the United States, Sobre las Olas has a cultural association with funfairs, and trapeze artists, as it was one of the tunes available for Wurlitzers popular line of fairground organs. The music for Over the Waves was used for the song The Loveliest Night of the Year, the composition is featured in the film Stage Fright. The song appears along with Entry of the Gladiators, as a medley, in the Circus tribe stages in Lemmings 2, the song plays while riding a balloon in the Atari 2600 game, Pitfall II, The Lost Caverns. This waltz is performed in the James Bond movie, Octopussy, on Sesame Street, Ernie often sang a song to this melody, called George Washington Bridge. The tune is featured in the RKO Radio Pictures feature Whens Your Birthday, in the 1946 Warner Brothers cartoon, Daffy Doodles, Daffy sings Sobre las Olas to the tune of She was an acrobats daughter. Sobre las Olas can be heard in the score of Disneys 1944 film The Three Caballeros during The Cold-Blooded Penguin segment, the song has also been used in Popeye cartoons. An homage to this appears as the bridge of The Dead Kennedys track Chemical Warfare. In a Disney movie, Mary Poppins, Bert hums to this song while pretending to be a tightrope walker, on Barney and Friends episode, Classical Cleanup, Mr. Boyd plays this song on the piano while Baby Bop dances and accidentally makes a mess in the classroom. This is one of the featured in the video game Wii Music. The waltz is used as music in Segas 1980 arcade game Carnival. The composition can be heard as accompanying music during one of the scenes in Laurel. Sobre las Olas, Scores at the International Music Score Library Project Sobre las Olas, sheet music for Sobre Las Olas, F. Trifet & Co.1895

6.
El Triste
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El Triste is a song written by Mexican composer Roberto Cantoral. It was performed for the first time on March 25,1970, el Triste was included on his third studio album. El Triste is sung by José José in a high register, highlighting the power of his voice. He has said it is one of the most significant interpretations that he has performed due to its technical difficulty, the song became his second number-one single in the Mexican charts in 1970. El Triste became an icon in Mexico, as part of the repertoire of favorite songs of Mexican popular music. After its release at the festival it was recorded in studio along with other new tracks on an LP released in 1970. José José recorded the song again in 1982 under new accompaniment and musical arrangement, eddie Santiagos cover of the song peaked at #28 on the Billboard Hot Latin Songs chart. Lyrics of this song at MetroLyrics

7.
Por Debajo de la Mesa
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Por Debajo de la Mesa is a song written by Armando Manzanero and performed by Mexican recording artist Luis Miguel. Arranged by Bebu Silvetti, it was one of the two compositions written for Miguels fifteenth studio album Romances. It was released as the single from the album on 15 July 1997. The music video features Miguel performing at a restaurant in New York City. The track received a reaction from Achy Obejas of the Chicago Tribune who called it lame. It was nominated Pop Song of the Year at the 10th Annual Lo Nuestro Awards and Manzanero was awarded a Broadcast Music, Latin Award for writing the song. Manzanero performed the record as a duet with several such as Tania Libertad. In 1991 Miguel released Romance, a collection of classic Latin ballads, the album was produced by Armando Manzanero and arranged by Bebu Silvetti, and was credited for revitalizing the bolero genre. It also made history as the first Spanish-language album to be certified gold by the Recording Industry Association of America in the United States, a follow-up to Romance was released in 1994 under the title Segundo Romance, which was produced by Miguel, Juan Carlos Calderón and Kiko Cibrian. He also expressed an interest in singing in Italian and Portuguese, two months later Manzanero confirmed that he was working with Miguel on another bolero-inspired ballads album, under the tentative title Tercer Romance. Miguels record label confirmed that fourteen tracks would be included on the album under the title Romances, Por Debajo de la Mesa was written by Manzanero as one of the two original compositions for the album along with Contigo. Manzanero stated that Por Debajo de la Mesa and Dormir Contigo were two of his songs that he composed for Miguel. A music video for Por Debajo de la Mesa was filmed in New York City which features Miguel performing at the Rainbow Room with the video being shot in black-and-white, the song was included on his greatest hits album Mis Boleros Favoritos and Grandes Éxitos. A live version of the song was included on his album Vivo as part of the Romances Medley, Por Debajo de la Mesa serviced to radio stations across Latin America on 5 July 11997. In the United States, the song debuted at two on the Billboard Hot Latin Songs chart on the week of 2 August 1997. Six weeks later, it peaked at one on the chart where. Por Debajo de la Mesa ended 1997 as the eighth best-performing Latin single of the year in the United States. The track also peaked at one on the Billboard Latin Pop Songs chart where it spent five weeks on top of the chart and was the best-performing Latin pop song of the year in the country

8.
La Bamba (song)
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Valens version of La Bamba is ranked number 354 on Rolling Stone magazine′s list of the 500 Greatest Songs of All Time. It is the song on the list sung in a language other than English. The Los Lobos version remained No.1 for three weeks in the summer of 1987, the music video for Los Lobos version, directed by Sherman Halsey, won the 1988 MTV Video Music Award for Best Video from a Film. La Bamba is an example of the Son Jarocho musical style, which originated in the Mexican state of Veracruz and combines Spanish, indigenous. The song is played on one or two arpas jarochas along with guitar relatives the jarana jarocha and the requinto jarocho. Lyrics to the song vary greatly, as performers often improvise verses while performing, however, versions such as those by musical groups Mariachi Vargas de Tecalitlan and Los Pregoneros del Puerto have survived because of the artists popularity. The traditional aspect of La Bamba lies in the tune, which remains almost the same through most versions, the name of the dance, which has no direct English translation, is presumably connected with the Spanish verb bambolear, meaning to shake or perhaps to stomp. A traditional huapango song, La Bamba is often played during weddings in Veracruz, today this wedding tradition is observed less often than in the past, but the dance is still popular, perhaps through the popularity of ballet folklórico. The arriba part of the song suggests the nature of the dance, in which the footwork, a repeated lyric is Yo no soy marinero, soy capitán, meaning I am not a sailor, I am a captain, Veracruz is a maritime locale. This recording was reissued on a 1997 compilation by Yazoo Records and it became popular, and the song was adopted by Mexican presidential candidate Miguel Alemán Valdés who used it in his successful campaign. Later in 1945, the music and dance were introduced at the Stork Club in New York City by Arthur Murray, a popular version by Andrés Huesca and his brother Victor, billed as Hermanos Huesca, was issued on Peerless Records in Mexico in about 1945–46. The Swedish-American folk singer William Clauson recorded the song in several languages in the early and he claimed to have heard the song in Veracruz, and in performance slowed down the tempo to encourage audience participation. Another version, somewhat bowdlerized, was recorded by Cynthia Gooding on her 1953 Elektra album, the song was also recorded for the French market in 1956 by Juanita Linda and her backing group Los Mont-Real. The same year, Harry Belafonte reportedly recorded the song, but a version by Belafonte was not commercially released until a recording made at Carnegie Hall in 1960. The traditional song inspired Ritchie Valens rock and roll version La Bamba in 1958. The musicians on that session were Buddy Clark, string bass, Ernie Freeman, piano, Carol Kaye, rhythm guitar, Rene Hall, Danelectro guitar, Earl Palmer, drums, Ritchie Valens, vocals, the song features a simple verse-chorus form. Valens, who was proud of his Mexican heritage, was hesitant at first to merge La Bamba with rock and roll, Valens obtained the lyrics from his aunt Ernestine Reyes and learned the Spanish lyrics phonetically, as he had been raised from birth speaking English. The song ranked No.98 in VH1s 100 Greatest Songs of Rock and Roll in 1999, furthermore, Valens recording of the song was inducted into the Latin Grammy Hall of Fame

9.
Mexican Revolution
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The Mexican Revolution was a major armed struggle c. 1910–1920 that radically transformed Mexican culture and government. Although recent research has focused on local and regional aspects of the Revolution and its outbreak in 1910 resulted from the failure of the 35-year long regime of Porfirio Díaz to find a managed solution to the presidential succession. This meant there was a crisis among competing elites and the opportunity for agrarian insurrection. Madero challenged Díaz in 1910 presidential election, and following the rigged results, armed conflict ousted Díaz from power and a new election was held in 1911, bringing Madero to the presidency. The origins of the conflict were broadly based in opposition to the Díaz regime, with the 1910 election, elements of the Mexican elite hostile to Díaz, led by Madero, expanded to the middle class, the peasantry in some regions, and organized labor. In October 1911, Madero was overwhelmingly elected in a free, Huerta remained in power from February 1913 until July 1914, when he was forced out by a coalition of different regional revolutionary forces. Then the revolutionaries attempt to come to a political agreement following Huertas ouster failed, Zapata was assassinated in 1919, by agents of President Carranza. The armed conflict lasted for the part of a decade, until around 1920. Revolutionary forces unified against Huertas reactionary regime defeated the Federal forces, although the conflict was primarily a civil war, foreign powers that had important economic and strategic interests in Mexico figured in the outcome of Mexicos power struggles. The United States played a significant role. Out of Mexicos population of 15 million, the losses were high, perhaps 1.5 million people died, nearly 200,000 refugees fled abroad, especially to the United States. Politically, the promulgation of the Mexican Constitution of 1917 is seen by scholars as the end point of the armed conflict. The period 1920–1940 is often considered to be a phase of the Revolution, during which power was consolidated, after the presidency of his ally, General Manuel González, Díaz ran for the presidency again and legally remained in office until 1911. The constitution had been amended to allow presidential re-election, Díazs re-election was ironic, since he had challenged Benito Juárez on the platform no re-election. During the Porfiriato there were regular elections although there were contentious irregularities, the contested 1910 election, was a key political event that led to the Mexican Revolution. As Díaz aged, the question of succession became increasingly important. In 1906, the office of president was revived, with Díaz choosing his close ally Ramón Corral from among his Cientifico advisers to serve in the post. By the 1910 election, the Díaz regime had become highly authoritarian and he had been a national hero, opposing the French Intervention in the 1860s and distinguishing himself in the Battle of Puebla on 5 May 1862

10.
Corrido
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The corrido is a popular narrative song and poetry form, a ballad. The songs are often about oppression, history, daily life for peasants and it is still a popular form today in Mexico and was widely popular during the Nicaraguan Revolutions of the 20th century. After the spread of radio and television, the genre evolved into a new stage and is still in the process of maturation, some scholars, however, consider the corrido to be dead or moribund in more recent times. In more rural areas where Spanish and Mexican cultures have been preserved because of isolation, the earliest living specimens of corrido are adapted versions of Spanish romances or European tales, mainly about disgraced or idealized love, or religious topics. These, that include La Martina and La Delgadina, show the same stylistic features of the later mainstream corridos. Some corridos may also be love stories, also, there are corridos about women and couples, not just about men. Some even employ fictional stories invented by their composers, sheet music of popular corridos was sold or included in publications. Other corrido sheets were passed out free as a form of propaganda, to leaders, armies. The best known Revolutionary corrido is La cucaracha, an old song that was rephrased to celebrate the exploits of Pancho Villas army and poke fun at his nemesis Venustiano Carranza. The corrido was, for example, a device employed by the Teatro Campesino led by Luis Valdez in mobilizing largely Mexican and Mexican-American farmworkers in California during the 1960s. Corridos have seen a renaissance in the 21st century, contemporary corridos feature contemporary themes such as drug trafficking, immigration, migrant labor and even the Chupacabra. Corridos, like rancheras, have introductory instrumental music and adornos interrupting the stanzas of the lyrics, however, unlike rancheras, the rhythm of a corrido remains fairly consistent. The corrido has a similar to that of the European waltz, rancheras can be banda. Corridos often tell stories, while rancheras are for dancing, like rancheras, corridos can be played by mariachi, norteño, duranguense, Tejano and grupera bands. The instruments used to play the song differ with the type of band plays the corrido. It was performed in time and now commonly adopts a polka rhythm. Since the commercialization of the corrido, it is performed by conjuntos produced professionally by recording companies. With His Pistol in His Hand, A Border Ballad and its Hero Richard Flores, the Corrido and the Emergence of Texas-Mexican Social Identity Dan Dickey

11.
Ranchera
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Ranchera, or canción ranchera is a genre of the traditional music of Mexico. It dates before the years of the Mexican Revolution and it later became closely associated with the mariachi groups which evolved in Jalisco. Ranchera today is played by norteño or banda and Tamborazo. Drawing on rural traditional folk music, ranchera developed as a symbol of a new consciousness in reaction to the aristocratic tastes of the period. Traditional rancheras are about love, patriotism or nature, rhythms can have a metric in 2/4, 3/4, or 4/4 reflecting the tempo of, respectively, the polka, the waltz, and the bolero. There is a slow ranchera in 4/4, songs are usually in a major key, and consist of an instrumental introduction, verse and refrain, instrumental section repeating the verse, and another verse and refrain, with a tag ending. Instrumentation may include guitars, strings, trumpets, and/or accordions, the normal musical pattern of rancheras is a/b/a/b. Rancheras usually begin with an instrumental introduction, the first lyrical portion then begins, with instrumental adornments interrupting the lines in between. The instruments then repeat the theme again, and then the lyrics may either be repeated or begin a new set of words, one also finds the form a/b/a/b/c/b used, in which the intro is played, followed by the verse. This form is repeated, and then a refrain is added, another closely related style of music is the corrido, which is often played by the same ensembles that regularly play rancheras. The corrido, however, is apt to be a story about heroes and villains, whereas rancheras may not necessarily be heroic ballads. However, two exceptions to this rule are the songs, Corrido de Chihuahua and the Corrido de Monterrey. Their lyrics are concerned with patriotism for the states of Chihuahua and Nuevo León, the word ranchera was derived from the word rancho because the songs originated on the ranches and in the countryside of rural Mexico. Rancheras that have adapted by conjuntos, or norteño bands from northern Mexico. Amanecí en tus brazos by José Alfredo Jiménez and performed by Rocío Dúrcal, Vikki Carr, Javier Solís, Luis Miguel, cien años by Pedro Infante Corazón, corazón by Lola Beltrán and Lucha Villa. and others. Ella by José Alfredo Jiménez, Pedro Fernández, Vicente Fernández, El puente roto by Irma Serrano El rey by José Alfredo Jiménez, Luis Miguel and Vicente Fernández. La cruz de olvido, by Juan Zaizar and Álvaro Torres, la puerta negra, by Antonio Aguilar Media vuelta, by Javier Solís, Lucha Villa, Rocío Dúrcal and Luis Miguel. Sombras, by Javier Solís, Vikki Carr and others, das mexikanische Äquivalent zur Country and Western Music aus historischer, musikalischer und kommerzieller Sicht

12.
Son huasteco
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Son Huasteco is one of 8 Mexican song styles and is a traditional Mexican musical style originating in the 6 state area of Northeastern Mexico called La Huasteca. It dates back to the end of the 19th century and is influenced by Spanish, usually it is played by a Trio Huasteco composed of a guitarra quinta huapanguera a Jarana huasteca and a violin. Singers will often use the falsetto register, the son Huasteco is particularly noteworthy for its flamboyant and virtuoso violin parts, although the style varies from state to state. Footwork often danced to Son Huasteco is the Zapateado, improvisation plays a strong role in the style, with musicians creating their own lyrics and arrangements to a standard repertoire. Typical sones huastecos are Cielito lindo, La huazanga, La sirena, El querreque, related genres are Son Jarocho and Fandango español

13.
Son jarocho
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Son Jarocho is a regional folk musical style of Mexican Son from Veracruz, a Mexican state along the Gulf of Mexico. It represents a fusion of indigenous, Spanish, and African musical elements, lyrics include humorous verses and subjects such as love, nature, sailors, and cattle breeding that still reflect life in colonial and 19th century Mexico. Verses are often shared with the wider Mexican and Hispanic Caribbean repertoire and it is usually performed by an ensemble of musicians and instruments which collectively are termed a conjunto jarocho. Son Jarocho is often played only on jaranas and sung in a style in which several singers exchange improvised verses called décimas, some groups add the marimbol, a plucked key box bass, and the cajón. The most widely known son jarocho is La Bamba, which has been popularized through the version by Ritchie Valens, other famous sones jarochos are El Coco and La Iguana and El Cascabel, all of which have a call and response form, and El Chuchumbé, La Bruja. More recently, instruments and rhythms from son jarocho have been used by groups such as Café Tacuba, Quetzal,22 Pesos, Ozomatli. East L. A. rockers Los Lobos have also recorded in the Jarocho genre, more recently Son Jarocho music has experienced a resurgence in the United States. U. S. based bands now playing or using elements of the genre include Radio Jarocho, David Wax Museum, Son del Centro, Las Cafeteras, Son del Viento, & Jarana Beat

14.
Bolero
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Bolero is a genre of slow-tempo Latin music and its associated dance. There are Spanish and Cuban forms which are significant and which have separate origins. The term is used for some art music. In all its forms, the bolero has been popular for over a century, the original Spanish bolero is a 3/4 dance that originated in Spain in the late 18th century, a combination of the contradanza and the sevillana. In Cuba, the bolero was perhaps the first great Cuban musical and vocal synthesis to win universal recognition, in 2/4 time, this dance music spread to other countries, leaving behind what Ed Morales has called the most popular lyric tradition in Latin America. The Cuban bolero tradition originated in Santiago de Cuba in the last quarter of the 19th century, it does not owe its origin to the Spanish music and song of the same name. In the 19th century there grew up in Santiago de Cuba a group of itinerant musicians who moved around earning their living by singing and playing the guitar, pepe Sanchez is known as the father of the trova style and the creator of the Cuban bolero. Untrained, but with natural talent, he composed numbers in his head. As a result, most of these numbers are now lost and he was the model and teacher for the great trovadores who followed. The Cuban bolero has traveled to Puerto Rico and the rest of Latin America after its conception, some of the boleros leading composers have come from nearby countries, as in the case of the prolific Puerto Rican composer Rafael Hernández and the Mexican Agustín Lara. Some Cuban composers of the bolero are primarily considered trovadores, boleros saw a resurgence in popularity during the 1990s when Mexican singer Luis Miguel was credited for reviving interest in the bolero genre following the release Romance. This adaptability was largely achieved by dispensing with limitations in format or instrumentation, examples would be, Bolero in the danzón, the advent of lyrics in the danzón to produce the danzonete. The bolero-son, long-time favourite dance music in Cuba, captured abroad under the misnomer rumba, the bolero-mambo in which slow and beautiful lyrics were added to the sophisticated big-band arrangements of the mambo. The bolero-cha, many Cha-cha-cha lyrics come from boleros, the lyrics of the bolero can be found throughout popular music, especially Latin dance music. A version of the Cuban bolero is danced throughout the Latin dance world under the misnomer rumba and this came about in the early 1930s when a simple overall term was needed to market Cuban music to audiences unfamiliar with the various Cuban musical terms. The famous Peanut Vendor was so labelled, and the label stuck for other types of Cuban music, in Cuba, the bolero is usually written in 2/4 time, elsewhere often 4/4. The tempo for dance is about 120 beats per minute, the music has a gentle Cuban rhythm related to a slow son, which is the reason it may be best described as a bolero-son. Like some other Cuban dances, there are three steps to four beats, with the first step of a figure on the second beat, the slow is executed with a hip movement over the standing foot, with no foot-flick

15.
Banda (music)
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Banda is a term to designate a style of Mexican music and the musical ensemble in which wind instruments, mostly of brass, and percussion, are performed. Bandas play a variety of songs, including rancheras, corridos, cumbias, baladas. History of banda music in Mexico dates from the middle of 19th century with the arrival of piston metal instruments, the first bands were formed in southern and central Mexico. In each village of the different territories there are types of wind bands, whether traditional. There are brass instruments in the state of Oaxaca that date back to 1850s, the traditional bands that play Yucatecan jaranas use the following instruments, clarinet, tenor saxophone, baritone saxophone, trumpet, trombone, timpani, drum drum, bass drum, cymbals, güiro. The traditional Oaxacan bands use a number of saxophones and clarinets, fewer trumpets and slide trombones. One of the oldest bands recorded in Mexico is the Banda de Tlayacapan of the state of Morelos that was founded approximately in 1870, the traditional Zacatecan tamborazo band does not use tuba, being the tambora the instrument that takes the low tone. History of banda music in Mexico dates from the middle of 19th century with the arrival of piston metal instruments, the first bands were formed in southern and central Mexico. In each village of the different territories there are types of wind bands, whether traditional. Banda music was established in the 1880s in the state of Sinaloa, Mexico and its roots come from the overlapping of Mexican music with German polka music. At the time, many German Mexicans lived in the states of Sinaloa, Chihuahua, Jalisco and this greatly influenced northern Mexican music. Immigrants from northern Mexico brought the music to the United States, famous soloists include Julio Preciado, Lupillo Rivera, Sergio Vega, Roberto Tapia, Espinoza Paz and Julion Alvarez. While not known primarily as a singer, Juan Gabriel also recorded in the genre. Despite banda being a genre, there are a few female soloist banda-singers such as Graciela Beltran, Carmen Jara, Diana Reyes, Beatriz Adriana, Yolanda Pérez. Examples of females soloist who have recorded in the genre while not known mainly as banda singers include, Ana Gabriel, Alicia Villareal, theres also a handful all-female bandas such as Banda Las Soñadoras and Banda Las Tapatias, both from Guadalajara, Jalisco. Jenni Rivera, the highest earning banda singer of all-time has been attributed to bringing a female perspective to what had historically been a male-dominated genre. The 2010s wave of popularity of the tuba in Southern California has been credited to its presence in banda music, a typical banda is made up of brass, woodwind, and percussion instruments. The most notable instrument is the tambora which is a type of drum with a head made from animal hide

16.
Conjunto
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The term conjunto refers to several types of small musical ensembles present in different Latin American musical traditions, mainly in Mexico and Cuba. While Mexican conjuntos play styles such as norteño and tejano, Cuban conjuntos specialize in the son, Mexican conjunto music, also known as conjunto tejano, was born in south Texas at the end of the 19th century, after German settlers introduced the button accordion. The bajo sexto has come to accompany the button accordion and is integral to the conjunto sound, many conjuntos are concentrated in the Southwestern portion of the United States, primarily in Texas and California. In Mexico the term conjunto is associated with norteño and tejano music, since tejano was bred out of norteño music originally this association is not entirely false. However, due to cultural and socioeconomic developments in the 1900s. In the United States and Mexico, a band is composed of four main instruments, the button accordion, the bajo sexto, an electric bass. They are popular in northern Mexico and southern Texas, German and East European settlers brought their accordions, waltzes and polkas to the region, which were adapted by the local population. Texas accordion player Flaco Jiménez is probably the best-known conjunto musician in the United States, with a career spanning sixty years, chulas Fronteras is a documentary film from the 1970s which illustrates how the music meshed into the lives of families in south Texas and northern Mexico. A conjunto jarocho is a type of Mexican folk ensemble, often it consists of requinto, arpa jarocha, jarana and leona, but can also have violin, pandero octagonal, quijada, marimbol or güiro. Its repertory covers sones jarochos in 3/4, 6/8 and 4/4, a conjunto huasteco is a type of Mexican folk ensemble. Often it consists of guitarra huapanguera, jarana huasteca and violin and its repertory covers sones huastecos in 3/4 and 6/8, and rancheras. A conjunto de arpa grande is a type of Mexican folk ensemble, often it consists of diatonic harp, Mexican vihuela, guitar and two violins. Its repertory covers planeco music, sones planecos in 3/4 and 6/8, a conjunto calentano is a type of Mexican folk ensemble. Often it consists of violin, guitar and tamborita, but can also have violin, guitarra panzona, guitarra sexta. Cuban conjunto music was developed in the 1940s by famous tres player Arsenio Rodríguez by adding instruments to the typical son cubano ensemble. However, some argue that the Conjunto Kubavana, conducted by Alberto Ruiz, was the very first Cuban conjunto. The conjunto contrasted with ballroom orchestras, the charangas, orquestas and danzoneras that were popular by bandleaders such as Antonio Arcaño. Conjunto music was crucial in the development of salsa

17.
Mariachi
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Mariachi is a musical expression that dates back to at least 18th century Western Mexico. Modifications of the music include influences from music such as polkas and waltzes, the addition of trumpets. The musical style began to take on national prominence in the first half of the 20th century, with its promotion at presidential inaugurations, in 2011 UNESCO recognized mariachi as an Intangible Cultural Heritage, joining six others of this list from Mexico. The origin of the word is disputed, but prominent theories attribute it to indigenous roots, one states that it comes from the name of the wood used to make the dance platform. Another states that mariachi comes from the name of a tree called pilla or cirimo. In many Mexican cultures they are also called Marietti, Mariachi can refer to the music, the group, or just one musician. The word mariachi was thought to have derived from the French word marriage, dating from the French intervention in Mexico in the 1860s and this was a common explanation on record jackets and travel brochures. This theory was disproven with the appearance of documents that showed that the word existed before this invasion, prior to the arrival of the Spanish, indigenous music was played with rattles, drums, flutes, and conch-shell horns as part of religious celebrations. The Spanish introduced violins, guitars, harps, brass instruments, and woodwinds, the Europeans introduced their instruments to use during Mass, but they were quickly adapted to secular events. Indigenous and mestizo peoples learned to play and make these instruments, often giving them modified shapes, in addition to instruments, the Spanish introduced the concept of musical groups—which, in the colonial period, generally consisted of two violins, a harp, and various guitars. This grouping gave rise to a number of musical styles in Mexico. One of these musical styles was the son. Modern mariachi music developed from this son style, with “mariachi” as a name for son jaliscense. Those who could play the son jaliscense/mariachi music could find work at haciendas at a higher rate than those who could not, the distinction of mariachi from the older son jaliscense occurred slowly sometime during the 19th century. The music originated in the center-west of Mexico, most claims for its origin lie in the state of Jalisco but neighboring states of Colima, Nayarit, and Michoacán have also claimed it. However, by the late 19th century, the music was firmly centered in Jalisco, most legends put the origin of the modern mariachi in the town of Cocula, Jalisco. The distinction from son to modern mariachi comes from the modification of the music, one variety was the salon orchestras called orquestas típicas that performed in more rural settings, notably in charro outfits. This use of the outfit was repeated with urban mariachi in the 1920s

18.
Marimba
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The marimba is a percussion instrument consisting of a set of wooden bars struck with mallets to produce musical tones. Resonators suspended underneath the bars amplify their sound and this instrument is a type of idiophone, but with a more resonant and lower-pitched tessitura than the xylophone. The marimba was developed in Central America by African slaves, and descended from its ancestral balafon instrument, Marimba is now the national instrument of Guatemala and Costa Rica. Modern uses of the marimba include solo performances, woodwind and brass ensembles, marimba concertos, jazz ensembles, marching band, drum and bugle corps, contemporary composers have used the unique sound of the marimba more and more in recent years. A player of the marimba can be called a marimbist or a marimba player, xylophones are widely used in music of west and central Africa. The name marimba stems from Bantu marimba or malimba, xylophone, the instrument itself is present, but is called balafon or heri in Mali and/or Guinea, while its known as gyil among the Akan peoples in and around Ghana. The word marimba and derivative words is used widely in East, other sources credit the creation of the marimba and the kalimba to Queen Marimba of the Wakambi people, who live south of Lake Victoria. In the Swahili language imba means song, Marimba, is said to be the mother of song and the creator of all the instruments, including the marimba. Mama means mother in Kiswahili, so it makes sense that the word mother would be combined with the word for song. The karimba is also said to have created by Queen Marimba. In much of East & Central Africa the karimba is seen as a version of the marimba. Diatonic xylophones were introduced to Central America in the 16th or 17th century, the first historical record of Mayan musicians using gourd resonator marimbas in Guatemala was made in 1680, by the historian Domingo Juarros. It became more widespread during the 18th and 19th centuries, as Mayan, in 1821, the marimba was proclaimed the national instrument of Guatemala in its independence proclamation. The gourd resonators were later replaced by harmonic wooden boxes, variants with slats made of steel, glass or bamboo instead of wood appeared during the 19th century. In 1892, Corazón de Jesús Borras Moreno, a musician from Chiapas, expanded marimba to include the chromatic scale by adding another row of sound bars, the name marimba was later applied to the orchestra instrument inspired by the Latin American model. In the United States, companies like Deagan and Leedy company adapted the Latino American instruments for use in western music, metal tubes were used as resonators, fine-tuned by rotating metal discs at the bottom, lowest note tubes were U-shaped. The marimbas were first used for music and dance, such as Vaudeville theater. Clair Omar Musser was a proponent of marimba in the United States at the time

19.
Museo de Arte Popular
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The Popular Art Museum is a museum in Mexico City, Mexico that promotes and preserves part of the Mexican handcrafts and folk art. Located in the center of Mexico City in an old fire house. The Museo de Arte Popular opened in March 2006 and its purpose is to serve as a reference for Mexican crafts as well as promoting them through workshops, and other events to both Mexico and foreign tourism. And dignify Mexican crafts though restoration of works and the promotion of their creation both inside and outside the museum itself. The permanent collection contains both older and newer craft pieces from the traditions that make up Mexican culture. The collection was gathered through the generosity of individual donors, some of the principal private donors include Alfonso Romo of Grupo Savia, who had promoted crafts for a number of years. He donated 1,400 pieces towards the opening of the museum, the second donor was Carlota Mapeli, who came to Mexico from Italy in the 1970s and dedicated herself to collecting embroidered garments and other textiles. She donated 400 pieces, many of which were weaved on backstrap looms, the collection is organized into five permanent halls divided by theme, and two dedicated to “grand masters” each of which contains various kinds of crafts. The five themed halls are called “Las raices del arte mexicano”, “Las raices del arte popular”, “Lo cotidiano”, “Lo religioso”, the collection fills three of the four levels of the building, for a total of 7,000 square meters. There is also an exhibit hall and an “interpretation” room which has pieces from all 32 federal entities of Mexico. Crafts displayed here are of different types including pottery, basketry, wood carving, precious metal working, glasswork, textiles, papier-mâché. The museum also has a center with a library and a periodical archive. Every weekend the museum has workshops for children six and twelve in various crafts with the aim of preserving these crafts. Workshops include those on paper cutting, amate paper and papier-mâché, for special occasions such as Dia de Muertos, workshops have included those on making Catrina figures, sugar skulls and traditional candies. The museum’s store is non-profit, designed to help artisans get better prices for their products, many of the products come from villages in Michoacán, often populated only by women and children as the men go to places like the United States to work. Sales of their products have been enough to entice a number of men to return home. The building is considered to be the second most important Art Deco building in Mexico City and it was donated to the museum project by the government of Mexico City. The building was constructed in 1927 by architect Vicente Mendiola as part of the efforts to modernize the city’s infrastructure at the time

20.
Son mexicano
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Son mexicano is a category of Mexican folk music and dance that encompasses various regional genres, all of which are called son. The term son means sound in Spanish, and is applied to other unrelated genres. Mexican son likely originated in Veracruz with major son traditions in this state along with the La Huasteca region, the Pacific coast of Guerrero and Oaxaca, Michoacán and Jalisco. The music is based on string instruments such as guitars and violins, the dance associated with this music is social and often includes a stomping rhythm on a raised platform to provide percussion. The term son is given to a category of Mexican folk music which covers a variety of styles that vary by region, however, these styles share a number of common characteristics in its rhythms, lyrics and dance. The music is a mix of Spanish, African and indigenous elements and it is related to other Latin American folk music such as that of Colombia, Venezuela and Cuba but has had its own development. Mexican son is played by bands playing string and percussion instruments. All generally sing but there is one or two lead singers. Most son songs are love, mythological figures, legends. It is strongly tied to social dance which also varies by region, dancers are generally couples executing zapateados on raised wooden dance floors. The zapateado provides most of the percussion in Son Jarocho and Son Huasteco, as a base, son music in Mexico has the Baroque music of Spain, along with African and indigenous elements. The basic rhythms, instruments and musical practices have not change much from Spanish music of the 16th and 17th century and these Spanish elements practically disappeared in the mother country by 1750. This Spanish heritage links it to other music styles in Latin America including the Cuban music by the same name. The African element is mostly linked to its popularity at Carnival, in most son styles, percussion is provided by the stomping feet of dancers. This is from its indigenous heritage, from ceremonial marches, Son music most likely originated in Veracruz, as the entry point for the Spanish and because of its links to the Caribbean and the slave trade. Son music was reinforced with the ties to the Caribbean. Son jarocho gained popularity in the 1940s and 1950s not only in Veracruz but in Mexico City as well, in due to the group Son de Cuba. Son has enjoyed popularity both in Mexico and increasingly popularity in the United States especially among Mexican American communities

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Jalisco
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Jalisco, officially the Free and Sovereign State of Jalisco, is one of the 31 states which, with the Federal District, comprise the 32 Federal Entities of Mexico. It is located in Western Mexico and divided into 125 municipalities, Jalisco is one of the most important states in Mexico because of its natural resources as well as its history. Many of the traits of Mexican culture, particularly outside Mexico City, are originally from Jalisco, such as mariachi, ranchera music, birria, tequila, jaripeo. Hence, the motto, Jalisco es México. Economically, it is ranked third in the country, with industries centered in the Guadalajara metropolitan area, the state is home to two significant indigenous populations, the Huichols and the Nahuas. There is also a significant foreign population, mostly retirees from the United States and Canada, living in the Lake Chapala, with a total area of 78,599 square kilometers, Jalisco is the seventh-largest state in Mexico, accounting for 4. 1% of the countrys territory. Jalisco is made up of a terrain that includes forests, beaches, plains. Altitudes in the state vary from 0 to 4,300 meters above sea level, over 52% of the bird species found in Mexico live in the state, with 525, 40% of Mexicos mammals with 173 and 18% of its reptile species. There are also 7,500 species of veined plants, one reason for its biodiversity is that is lies in the transition area between the temperate north and tropical south. Its five natural regions are, Northwestern Plains and Sierras, Sierra Madre Occidental, Central Plateau, Trans-Mexican Volcanic Belt, which covers most of the state, and it has an average altitude of 1,550 meters MASL, but ranges from 0–4,300 m. Most of the territory is semi-flat between 600–2,050 m, followed by rugged terrain of between 900–4,300 m and a percentage of flat lands between 0–1,750 m. Jalisco has several river basins with the most notable being that of the Lerma/Santiago River, the Lerma River enters extends from the State of Mexico and empties into Lake Chapala on the east side. On the west, water flows out in the Santiago River, tributaries to the Santiago River include the Zula, the Verde River, the Juchipila and the Bolaños. About three quarters of the population lives near this river system. In the southwest of the state, there are a number of rivers that empty directly into the Pacific Ocean. The most important of these is the Ameca, with its one main tributary and this river forms the state’s border with Nayarit and empties into the Ipala Bay. The Tomatlán, San Nicolás, Purificación, Marabasco-Minatitlán, Ayuquila, Tuxcacuesco, Armería and Tuxpan rivers flow almost perpendicular to the Pacific Ocean, another river of this group is the Cihuatlán River, which forms the boundary between Jalisco and Colima emptying into the Barra de Navidad Bay. The southeastern corner belongs to the Balsas River basin and this includes the Ayuqila and Tuxcacuesco, which join to form the Armería and the Tuxpan

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Colima
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Colima, officially the Free and Sovereign State of Colima, is one of the 32 states that make up the 32 Federal Entities of Mexico. It shares its name with its capital and main city, Colima, Colima is a small state of Western Mexico on the central Pacific coast, with the four oceanic Revillagigedo Islands. Mainland Colima shares borders with the states of Jalisco and Michoacán, in addition to the capital city of Colima, the main cities are Manzanillo and Tecomán. Colima is the fourth smallest state in Mexico and has the smallest population, the state is in the middle of Mexico’s Pacific coast, bordered by the Pacific Ocean and the states of Jalisco and Michoacán. Colima’s territory includes the Revillagigedo Islands—Socorro, San Benedicto, Clarión and these are under federal jurisdiction but are considered part of the municipality of Manzanillo. Politically, the state is divided into ten municipalities, natural geography divides the state into a northern and southern region. The north has a cooler climate due to the higher mountains, the south is hotter and includes the Pacific Ocean coastline. The Revillagigedo Islands, of origin, are dispersed along the 19° north parallel over an area of about 400 km2—with a total landmass of 205 km2. The altitude varies from sea level to 3,839 m at the crater of the Volcán de Colima, the state is in an offshoot of the Sierra Madre Occidental mountain range and geographically consists of four mountain systems. The most important of these is the Cerro Grande and its related peaks of Jurípicho-Juluapan, Los Juanillos, La Astilla, El Ocote, El Peón, El Barrigón, San Diego, and La Media Luna. The third is located between the Armería and Salado Rivers and includes the Alcomún y Partida, San Miguel y Comala and San Gabriel/Callejones peaks. The last is between the Salado and Naranjo or Coahuayana Rivers and contains mountain chains such as the Piscila, Volcancillos, La Palmera, El Camichín. Three quarters of the state is covered by mountains and hills, at the very north of the state, the border is marked by two volcanoes. The Colima Volcano, also called the Volcán de Fuego, is active, the Nevado de Colima is taller at 4,271 m and gives its name to the national park that surrounds it. The Colima Volcano,3825 m, has a peak, in contrast to the other. The last major eruptions of the Colima Volcano occurred in 1998 and 1999, the Salado is another important river, which flows entirely within Colima before emptying into the Coahuayana. Many of the streams and arroyos empty into the Salado. Colima has a short coastline, at 139 km

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Mestizo
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The term was used as an ethnic/racial category in the casta system that was in use during the Spanish Empires control of their New World colonies. Mestizos are usually considered to be mixed Spaniards by the crown of Spain, the term mestizaje - taking as its root mestizo or mixed - is the Spanish word for miscegenation, the general process of mixing ancestries. To avoid confusion with the usage of the term mestizo. In colonial Venezuela, pardo was more commonly used instead of mestizo, pardo means being mixed without specifying which mixture, it was used to describe anyone born in the Americas whose ancestry was a mixture of European, Amerindian, and Black African. In colonial Brazil most of the population was mestiço in the original Iberian definition of the word. In the Philippines, which was a colony of Spain, the term came to refer to a Filipino with any foreign ancestry especially whites. In Canada, the Métis people is a community composed of those who possess combined European, in Saint Barthélemy, the term mestizo refers to people of mixed European and East Asian ancestry. The Spanish word mestizo is from Latin mixticius, meaning mixed and its usage has been documented as early as 1275, to refer to the offspring of an Egyptian and a Jew. This term was first documented in English in 1582 and it is related to the particular racial identity of historical non-white Amerindian-descended Hispanic and Latino American communities in an American context. In English-speaking Canada, Canadian Métis, as a loanword from French, refers to persons of mixed French, in the United States, Métis Americans and Mestizo Americans are two distinct racial and ethno-racial identities, as reflected in the use of French and Spanish loanwords, respectively. The latter was listed as a mestizo de sangley in birth records of the 19th century, with sangley as a reference to the Hokkiense word for business. Mestizo, mestiço, métis, mestís, Mischling, meticcio, mestiezen, mestee, in the Spanish colonial period, the Spanish developed an extremely vast complex system of racial hierarchy, which was used for social control and which also determined a persons standing in society. There were three categories of race during the initial period of colonization of the Americas by the Spanish, White Spaniard, Amerindian. During the Spanish colonial era, a myriad of terms were created to differentiate these racial mixtures, by the end of the colonial period in 1821, over one hundred sub-categories of possible variations of mixture existed, but official church and civil records were maintained with few categories. Church baptismal and marriage registers and civil records used the terms español, castizo, mestizo, mulato, and indio. As time went on, a system of hierarchy, the sistema de castas or the sociedad de castas developed where society was divided based on race, wealth. Mestizo – a person of mixed White European and Amerindian ancestry, in theory, and as depicted in eighteenth-century Mexican casta paintings, español status could also be attained by people of mixed origin who consistently had intermarried with Europeans. Such cases might include the offspring of a parent and one Peninsular or criollo parent

Mestizo (Peninsular Spanish: [mesˈtiθo], Latin American Spanish: [mesˈtiso]) is a term traditionally used in Spain …

Image: Mestiso 1770

A representation of a Mestizo, in a Pintura de Castas from New Spain during the late colonial period. The painting's caption states "Spanish and Indian produce Mestizo", 1780.

A statue of Gonzalo Guerrero, who adopted the Maya way of life and fathered the first Mestizo children of Mexico, but not of the Americas, since the first mestizos were born in the Caribbean, by Spanish men and indigenous Caribbean women.